I have separated the respective No's and Yes' from two audio pieces by other artists. One is the song 'No no no' from 1999 by Destiny's Child, a pop group headed by Beyonce, the other is the art work 'Ja ja ja Ne ne ne' by Joseph Beuys from 1968. The results are two tracks. One is comprised of all the Yes', the other is made up of all of the No's of the works. The respective No's and Yes' by Beuys and Beyonce in their works are edited in two separated mono channels playing together. If represented in the binary code, 'Yes' would be represented by the number 1 and 'No' by the number 0. The video is comprised of brief repetitive movements of low res footage of a performance by Destiny's Child and an interview by Joseph Beuys. The digits 0 and 1 float over the screen.

My aim with this work was to discuss the persistent perception of elitist and popular art as dichotomous and impenetrable. Very, very few artists, or arguably only their artworks, can travel freely between both worlds. My theory is perception of these art worlds as binary is the root of the problem.
Joseph Beuys frequently made fun of serious art in his works which were in turn again admitted into the arguably elitist art canon. The role of Destiny's Child, and especially their legacy Beyonce, in the current pop culture is more complicated than simply being a pop phenomenon that will soon find replacement. Beyonce's legacy is manyfold in that the subjects of race, influential power, creativity and financial power are interlaced with her gradual, potentially self-made and self-orchestrated rise to stardom. Her capitalist power is measurable in terms of her wealth, but her positive cultural influence over young black women seems to be much more important and not yet measurable.